OTTAWA: The Toronto International Film Festival said Thursday it was pausing all upcoming screenings of controversial documentary “Russians at War” after receiving “significant threats.”
“We have been made aware of significant threats to festival operations and public safety,” festival organizers said in a statement, pointing to reports they received “indicating potential activity in the coming days that pose significant risk.”
“This is an unprecedented move for TIFF,” read the statement.
“Given the severity of these concerns, we cannot proceed as planned.”
Anastasia Trofimova first presented “Russians at War” at the Venice Film Festival.
In the film, she embedded with a Russian battalion as it advanced across eastern Ukraine after Moscow launched its invasion in February 2022.
It was to have its North American premiere in Toronto on Friday, followed by additional screenings on Saturday and Sunday.
Both in Venice and Toronto it has sparked outrage in Ukrainian cultural and political circles against what many consider a pro-Kremlin film that seeks to whitewash and justify Moscow’s assault on its neighbor.
Ukraine’s presidential chief of staff, Andriy Yermak, said he felt the festival should have dropped the film.
“The threat is Russian propaganda,” he wrote on Telegram, adding that the film should be “banned.”
Canada’s deputy prime minister, Chrystia Freeland, criticized the planned screening in Toronto.
“There can be no moral equivalency in our understanding of this conflict,” she said.
Canadian public broadcaster TVO, which had helped fund the documentary, pulled its support for the film and said it would not be airing it.
Meanwhile, Ukraine’s state film agency appealed to TIFF to drop the film, which it said was “a dangerous tool for public opinion manipulation.”
Trofimova has rejected the criticisms, telling AFP the Canada-France production was “an anti-war film” that showed “ordinary guys” who were fighting for Russia.
The soldiers depicted appear to have little idea of why they have been sent to the front, and are shown struggling to make Soviet-era weapons serviceable.
Others chain-smoke cigarettes and down shots of alcohol amid the deaths and wounds of their comrades.
Producer Sean Farnel said on X that the decision to cancel the screenings was “heartbreaking.”
He blamed officials’ public criticisms for having “incited the violent hate that has led to TIFF’s painful decision to pause its presentation of ‘Russians at War.’“
Toronto festival drops Russian war film screenings over threats
https://arab.news/nqezr
Toronto festival drops Russian war film screenings over threats
- Desicion was taken after receiving ‘significant threats to festival operations and public safety’
- Film features a Russian battalion as it advanced across eastern Ukraine in February 2022
Paris exhibition marks 200 years of Le Figaro and the enduring power of the press
- The exhibition celebrated the bicentennial of Le Figaro, offering visitors a rare opportunity to step inside the newspaper’s vast historical archive
PARIS: One of France’s most influential newspapers marked a major milestone this month with a landmark exhibition beneath the soaring glass nave of the Grand Palais, tracing two centuries of journalism, literature and political debate.
Titled 1826–2026: 200 years of freedom, the exhibition celebrated the bicentennial of Le Figaro, offering visitors a rare opportunity to step inside the newspaper’s vast historical archive. Held over three days in mid-January, the free exhibition drew large crowds eager to explore how the title has both chronicled and shaped modern French history.
More than 300 original items were displayed, including historic front pages, photographs, illustrations and handwritten manuscripts. Together, they charted Le Figaro’s evolution from a 19th-century satirical publication into a leading national daily, reflecting eras of revolution, war, cultural change and technological disruption.
The exhibition unfolded across a series of thematic spaces, guiding visitors through defining moments in the paper’s past — from its literary golden age to its role in political debate and its transition into the digital era. Particular attention was paid to the newspaper’s long association with prominent writers and intellectuals, underscoring the close relationship between journalism and cultural life in France.
Beyond the displays, the program extended into live journalism. Public editorial meetings, panel discussions and film screenings invited audiences to engage directly with editors, writers and media figures, turning the exhibition into a forum for debate about the future of the press and freedom of expression.
Hosted at the Grand Palais, the setting itself reinforced the exhibition’s ambition: to place journalism firmly within the country’s cultural heritage. While the exhibition has now concluded, the bicentennial celebrations continue through special publications and broadcasts, reaffirming Le Figaro’s place in France’s public life — and the enduring relevance of a free and questioning press in an age of rapid change.
